Celtic Knotwork Tutorial

Table of Contents

Introduction...............................................................................................................................................................1

Tutorial Source...............................................................................................................................................1
Class Background..........................................................................................................................................1
Knotwork Background...................................................................................................................................1

Basic Interlace Construction....................................................................................................................................2

Advanced Interlacing................................................................................................................................................6

Interruptions and Interlacing Breaks..............................................................................................................6
Interrupted Panel Construction......................................................................................................................7

Borders with Corners ("Mitering")........................................................................................................................9

Introduction....................................................................................................................................................9
"Sliding" Pattern into a Corner....................................................................................................................10
Pattern Modifications into a Corner.............................................................................................................11

Filling Spaces with Knotwork Interlacing............................................................................................................12

Knotwork Band Treatments..................................................................................................................................15

"Doubling" Interlace Patterns...............................................................................................................................17

Analysis of Existing Patterns..................................................................................................................................18

Translations from Existing Works...............................................................................................................18
Limitations of Cell−based Interlacing..........................................................................................................20
Non−Square Grids........................................................................................................................................20

Building Your Own Patterns..................................................................................................................................22

Triangular Knotwork.............................................................................................................................................23

Further Topics (not covered in this instruction)..................................................................................................27

Class Bibliography..................................................................................................................................................29

Basic Sources...............................................................................................................................................29

Celtic Knotwork Tutorial

Table of Contents

Further Topics Bibliography........................................................................................................................29
Web Page Resources....................................................................................................................................29

Sample Grids...........................................................................................................................................................30

Celtic Knotwork Tutorial

Introduction

Tutorial Source

This instruction is based on a class covering beginning Celtic knotwork construction (Introduction to Celtic
Knotwork) I gave during Pennsic War XXII (the week of 20 August 1993). The Pennsic Wars are a
long−running series of large yearly events held by the

Society for Creative Anachronism (http://www.sca.org/)

, a

nationwide organization of those interested in pre−17th century activities.

Class Background

This information should be considered introductory in nature, and assumes no experience in Celtic design, just a
fascination with it! It does not cover what I would call art or design as such, but is more "technical" in nature.
It covers basic interlacing techniques, simple border and panel construction and analysis, how to do interlaced
corners, doubled knots, and provides links to other, advanced sources for your further research. Techniques
learned can be (and have been) applied to both hand−drawn and computer− generated knots. The techniques
described in this class did not originate with me. I only use them, felt that they were not well−enough known,
and hoped that the class (and this web site) would help them gain wider appreciation.

Knotwork Background

Where did what we call "Celtic knotwork" come from? It's roots are in pre−history, probably based on actual
interlace patterns from basketwork. For example, there are bones carved in simple interlaces that have been
found associated with stone tools from the late Paleolithic. Influences can be seen in art from Persia, Africa,
Egypt, and other places (see [BainG], page 27 for some examples). Celtic patterns from the middle ages seem to
be influenced by a hybrid of older pagan sources plus Christian influences in Roman−period and later ("Dark
Ages") British isles. It is interesting how the Christian influence (especially Roman and Irish monastic) seemed
to enrich rather than replace the earlier pagan artistic traditions. There appears to have been an early
concentration on geometric forms; interesting parallels with Islamic art. One interpretation has it that the
scribes' belief that "...God sees all imperfections..." caused intense concentration on artistic perfection in their
work.

Sources for patterns used in this instruction (and in the associated

Celtic Computer Art

page) are taken from

illuminated Gospels; Durrow (ca. 680 AD); Lindisfarne (ca. 700 AD); Kells (ca. 800 AD); and from carved
stones (especially see [BainG] and [BainI]; also [Meehan2]). In the case of the great manuscripts, it appears that
masters designed and initiated patterns, with students (monks) completing the work.

For an interesting look at the earliest origins of Celtic art in general, see:

Barbarians on the Greek

Periphery? (http://www.iath.virginia.edu/~umw8f/Barbarians/first.html)

, a hyper−text PhD thesis.

Another good resource is The Origin and meaning of Celtic Knotwork, found on the web at

http://home.ctnet.com/drew/knotwork−meaning.html

. The author, however, feels that Lindisfarne was the

earliest major knotwork effort (Durrow is usually cited as the earliest), but agrees with the ca.700 AD time frame
for the creation of Lindisfarne. The author also mentions that plaits broken and reattached (see

Basic Interlacing

Construction

and

Interrupted Interlacing

for examples) were first used in Italy in the early 700's; a claim I'd not

heard before. The Origin and meaning of Celtic Knotwork site includes a good bibliography−−it can be reached
from the link noted above.

Introduction

Basic Interlace Construction

Basic Interlacing

The most basic rule of interlacing is: "First under then over then under then..."

Some early documented construction techniques (see [BainG]) involved drawing lines, then creating ribbon−like
bands around these lines, and then erasing the interlaced areas. Later construction techniques (see [van Stone],
[Sherb], and [BainI]) involve generating a grid of cells using points laid out like "dice 5", and only drawing the
lines needed, with little or no erasing required. From evidence on the manuscripts themselves this appears
similar to the actual techniques used by the Celtic scribes.

One "cell".

These cells are repeated and grouped to give a "grid" (in this case of 3 cells by 2 cells) of
dots, circles, or diamonds. That is, the dots, small circles or diamond shapes are drawn to
give guidelines for the knotwork bands. The following table provides pros and cons for
using the different pattern layout variations:

Pluses

Minuses

Dots

Quick and authentic, little or no erasing
required

Harder to keep constant band with

Small
Circles

Easier to keep constant band width, and
easier to hand draw

Some erasing may be required in corners and along
walls

Diamonds

Most accurate and consistent band width

Hard to hand draw (but easy on the computer), and will
always require some erasing

Bands are drawn at 45° to the original grid, between but not touching the dots. If bubbles (small circles) or
diamonds are used, then the edges touch the circles/diamonds. The bands "bounce" or "turn" off the edges and
corners of the grid (referred to as the "walls" in this class). Please see the example below:

Basic Interlace Construction

Basic Interlace Example:

1. Build grid (example uses 3 cells by 4 cells and uses diamond shapes to mark the centers
of the grid points).

2. Draw 2 parallel lines starting at the edges of the circles, diamonds (or just off the dots),
not the centers. Think of bands of ribbon placed between pegs.

3. Now draw the perpendicular bands on either end...

4. ...and bands running "under" the middle of the original band...

5. ...then continue with all bands until you run into a "wall" or corner.

6. For now, just "square off" the corners and wall turns (we'll get into curving these later).

7. Finally, fill in the background with black to cover the dot/circle/diamond layout
markers.

Please attempt this interlace on your own. Download the

sample grids

, and work with it as is, or print and use

behind plain paper as calligraphy guides are used.

Celtic Knotwork Tutorial

Basic Interlace Example:

Curved Interlace Example

Most examples from actual documents use curved lines, not the angular corners we've done so far. Doing
curves requires thinking ahead in the corners and walls. To get a smooth curve into the corner and against walls,
you need to start back from the edge of the line that will hit the wall. Then smoothly curve the lines into the
corners and walls. Try to keep the band a constant width, even though you may overrun the circles (or
diamonds) in the centers of the cells. You'll see many examples of curved knotwork designs in the remainder of
these instructions.

1. Start with the initial example, at step 5.

2. Smoothly curve the lines into the corners and walls, overlapping cell boundaries as
needed. The new curves are shown in red.

3. Clean up any stray marks "inside" the lace, and fill in the background with black as
before.

An annimated example of the curved interlace example can be seen by selecting the image
on the left.

Celtic Knotwork Tutorial

Curved Interlace Example

Simple borders ("plaits")

A row of cells can be used to form a border. The simplest version is one cell wide. The example below shows the
grid, a section of the plait, and the same section filled in:

As the colors show, it uses two bands to form the border, which repeats every two cells.

A border "1 and 1/2" cells wide uses three bands, as shown by the colored example below:

This type of border is uses as a basis for a number of Celtic knots, as will be seen in some of the examples. It
repeats every three cells.

A 2−cell wide border (often used in Celtic work) is initially four separate bands, repeating every four cells:

Please note that all these plaits are constructed in the same way as the simple interlacing example, except they
have no "corners", just "walls".

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Celtic Knotwork Tutorial

Simple borders ("plaits")

Advanced Interlacing

Interruptions and Interlacing Breaks

Celtic artists usually devised patterns in single bands where possible. How was this done?

We see that Celtic knotwork panels (and even whole pages or the sides of carved stones) are often designed to be
formed from a single band. For simple interlaces, this only works when the ratio of the number of cell sides has
no common factors (for example, in 2 cell X 3 cell templates, 3X4, 5X3, etc. ).

An interlaced 2 cell by 3 cell panel generates a single band.

A 2 cell by 2 cell panel, when simply interlaced, results in 2 bands.

The same 2 cell by 2 cell panel, with one added wall, results in 1 band. The first part
shows the 2x2 cell grid with the additional "wall" added. The second part shows the
band generated by this template with the same rules and methods used in basic
interlacing−−over and under, changing direction ("turning", or "bouncing off") at
walls and in corners. The third shows the band filled in with color.

The trick is: knowing how to add the "walls" into the panel patterns to end up with a single band in the end.

Advanced Interlacing

Interrupted Panel Construction

Most Celtic knotwork designs can be seen either as connected panels (with a side partially removed) or
interrupted borders (with extra walls and corners); the two concepts are very similar. The class descriptions use
the "panel grid with added walls" interpretation. The original Celtic designers used these breaks and
interruptions to develop their striking patterns. They often broke down long rows of border cells into areas like
the 2X3 panel above, making designs that cover whole pages (or the sides of standing stones) using one long
connected band.

The following example knot is taken from [BainI], pg. 43, using a pattern found in Lindisfarne, especially on
Folio 27:

1. It is formed on a 3X5 cell grid with additional cross− shaped walls forming four
new corners.

2. The bands are generated in the same way as for simple interlaced panels, "turning"
at corners and walls.

3. The bands can then be colored in, as with the other panels. For other ways of
treating bands, see the section on

Line Treatments

This pattern can be expanded into a border (as in the border pattern below) as well as a panel filling pattern (see
the associated

Celtic Computer Art

pages).

Celtic Knotwork Tutorial

Interrupted Panel Construction

The second example knot panel is also taken from [BainI], pg. 107, using a pattern taken from Lindisfarne, folios
27, 95, and 211:

1. It is formed on a 3X6 cell grid with five additional walls.

2. The bands are generated in the same way as for simple interlaced panels, "turning"
at corners and walls, whether the original panel walls or the added walls. A new
feature used here is the longer curve used above the short added wall. Note that the
radius of this curve is made to fit "over" the shorter curve−−it is not simply two short
curves with a straight section between. For a better description of these curve types,
see [BainI], Chapter 3.

3. The bands can then be colored in, as with the other panels.

This pattern was originally used as a border and was designed to be "mitred" to fit around corners. See the page
on

Mitred Corners

for more information.

The third example knot is a border pattern taken from [BainG], pg. 40 plate E, originally from Kells:

1. The basic pattern is 2 cells wide, with repeats every 6 cells, using four
additional walls to make two extra unconnected corners.

2. The bands are generated in the same way as for simple interlaced panels,
"turning" at corners and walls, whether the original panel walls or the added
walls. This pattern also uses longer curve used above the short added wall.

3. The bands can then be colored in, as with the other panels.

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Celtic Knotwork Tutorial

Interrupted Panel Construction

Borders with Corners ("Mitering")

Introduction

Getting border patterns to properly turn corners is fairly tricky−−to the best of by knowledge there is no
consistent, stereotypical method for generating patterns that properly miter (that is, that turn corners) without
drastically changing the underlying patterns, introducing loops or extra bands, etc.

You can try to either "slide" or rotate existing cell patterns into the corner, or try a different pattern that fits better
into the corner space. Please expect some very strange bands (even those outside the cell boundaries) when a
complex pattern turns a corner!

Borders with Corners ("Mitering")

"Sliding" Pattern into a Corner

As an example of a "sliding" pattern, please see the border below (from [Bain] page. 35, plate 10 upper right).

1. To the left is the underlying panel template and band treatment, from
[BainI], page 43, based on a pattern found in Lindisfarne, Folio 27.

2. This figure shows the template extended (by removing parts of the two end
walls) to form a border pattern.

3. This figure shows the template shifted and rotated to allow the corner to be
turned. Then walls were removed to keep the pattern constant.

4. Finally, the bands were formed and filled in as usual to build the final panel.
This can be further rotated and extended to form rectangular mitred panels of
any desired size.

Celtic Knotwork Tutorial

"Sliding" Pattern into a Corner

Pattern Modifications into a Corner

The second example, taken from Kells, shows a template modification allowing the pattern to "turn" a corner.

1. To the left is the underlying panel template and band treatment, from [BainI], page
103, based on a pattern found in Kells, Folio 124R. It is a 2X4 cell pattern, with the
repeating group offset by a half cell.

2. This figure shows the original template flipped and used in a corner pattern. There is
not a smooth way to shift and re−connect the pattern as in the one above.

3. This figure shows the wall to be removed (in red) to smooth out the corner turn.
When doing these on your own, try to not add a loop, but keep the underlying pattern
going as much as possible.

4. Finally, the bands are formed and filled in as usual to build the final panel. As with
the first example, this can be further rotated and extended to form rectangular mitred
panels of any desired size.

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Celtic Knotwork Tutorial

Pattern Modifications into a Corner

Filling Spaces with Knotwork Interlacing

Interlaced panels can be used to fill in areas of a page, like complex borders, between other forms, or inside of
large initial caps, etc. The basic design concept is to divide the required space into cells of appropriate scale,
and add breaks to make things "interesting" (i.e., single band, no loops, etc.).

The following example approximates the look of Durrow in it's use of knots only on the "carpet" pages (pages
with patterns only−−not containing text).

1. Divide the required page into cells−−in this case into 9 cells by 12 cells.
Please note that on a real carpet page the number of cells used would be
much greater.

2. Break down the page into shaped panels. The remainder can be
considered a borders. A common division included a cross−shaped area
(after all, the originals were Gospels, yes?).

Filling Spaces with Knotwork Interlacing

3. Add additional "walls" and "corners" to break up the design, add
interest, and remove loops. In this design, I managed to get the panels to
form a single band, but I failed to do this on the border.

4. Interlace the border area, using the same techniques as described in the
class sections on

Basic Interlacing Construction

and

Interrupted

Interlacing

5. Interlace the panel areas. In this case I used the same band width
throughout, but could have changed it in the border or panels. For
information on band width changes, see the class section on

Line

Treatments

Celtic Knotwork Tutorial

Filling Spaces with Knotwork Interlacing

6. Finally, color in the bands. I've chosen to use two different band
techniques here−−one for the panels and a different one for the border
areas. Please see the class section on

Line Treatments

for other ideas on

how to decorate the bands.

You can also use pre−defined panels (see [BainG] or any of the other

listed sources

), if the area you're trying to

fill "factors" properly−−that is, if the number of cells filling the space you need to cover is an even multiple of
the number of cells in the original pattern. Existing examples used different interlace patterns on different
sections of the same page. In fact, some examples use knots, key patterns, zoomorphics, and spiral patterns on
the same page.

There are particularly good examples in [Meehan2] (pages 72−102), [BainI] (Chapter 10), [BainG] and, of
course, any good facsimiles of the actual manuscripts. A (not terribly good :−) example of a draft SCA−style
scroll study using this technique can be seen in the

aoa9p1.jpg

(81KB) file.

Also, please see other examples of space filling patterns provided on the

Celtic "Art"

pages.

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Celtic Knotwork Tutorial

Filling Spaces with Knotwork Interlacing

Knotwork Band Treatments

Introduction

To this point we've been simply using black to cover up the construction marks (dots, circles, or diamonds at the
grid points) and filling in the bands with colors. The Celtic scribes certainly used this technique in the original
manuscripts. They also used many other techniques to decorate the bands. Some of these are covered below.

Band Width

Try increasing the circle diameters/diamond widths without changing the grid spacing to construct thinner bands,
and making smaller circles/diamonds to help get wider bands.

This pattern is from [Meehan2], originally from Durrow. Here is the original
grid size, and a band generated using this template.

Here is a grid with larger diamonds generating a narrower band.

This grid uses smaller diamonds and, consequently, wider bands. Note that
some spaces between bands disappear with wider band widths. Sometimes the
bands will need to be adjusted to compensate for this effect.

Band Edge Effects

Besides changing the width, bands themselves were often decorated.

The band edges were often drawn in black, letting the background parchment
show through.

Bands often had lines or dots running down the middle...

Knotwork Band Treatments

...or two narrow bands running on the sides of the band.

Finally, the knots were sometimes simply drawn with red dots alone against the
parchment.

Colors

Celtic work was incredibly colorful. Some knots were light on dark (as most of the examples), but some were
dark on light backgrounds. Colored areas were used on the bands and in the middle areas (between the bands)
as well. Even if a band was continuous, often more than one color was applied.

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Celtic Knotwork Tutorial

Colors

"Doubling" Interlace Patterns

"Doubling" can be considered a line treatment that forms a parallel double band from a broad interlace pattern;
the two new bands do not cross except where the original broad band did. This form of interlacing was quite
popular with the scribes and was extensively used in Kells.

Original construction techniques (see [BainG]) involved building the original wide interlaced band, then
converting the edges of these bands into new, narrow, parallel bands, then fixing up the interlacing. This
requires a lot of erasing and fixing. Doubling can be supported with the cell structures we've been using by
following the procedure below:

1. Draw original pattern on double sized cells compared to the desired final
results. This pattern is taken from [BainG] page 40, Plate E, and was
originally from Kells. I also used large (double sized) diamonds to keep the
ratio of band size to cell size fairly constant.

2. Build a set of "half sized" cells between the original points. I used smaller
than half size diamonds for band spacing here to reflect the Lindisfarne style of
doubling. See [BainI} pages 71−72 for further information and alternative
construction techniques. On the illustration, the new cell diamonds are in red
and the new cell sides are in pink.

3. Add interruptions to the new patterns based on the old: if the original
template has a corner, add a smaller corner inside and a larger one outside (if
possible); if the original template has a wall, add a new wall one smaller on the
"inside" (towards the middle of the panel or border) and one larger on the
"outside" (towards the edges of the panel or border); then add walls of single
cell edge size to break up any further walls and keep the new strands/bands in
parallel. On the illustration, the new walls are in red

4. Interlace as usual. Curves will take a bit of extra planning in order to keep
them parallel and a constant width. In this example, the curves used could
have been a bit smoother (i.e., larger radius)−−this would have meant more
adjustments in the corners, though...

5. Color the bands as desired. The illustration is colored to show the
continuity of the bands across the repeating, doubled pattern.

Also see other examples of doubling provided on the

Celtic Art

pages.

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"Doubling" Interlace Patterns

Analysis of Existing Patterns

Translations from Existing Works

I've used the following techniques to determine the underlying cell templates for knots from a number of sources.
The (rather involved) example below illustrates these techniques:

1. Here is an original scanned image, taken from Kells, folio 124R, at the top of the border design:

2. Find the repeating patterns. I've outlined the repeating group from this image in red:

3. Here is the repeating group isolated, and the band highlighted using image processing
techniques.

4. Look at the "holes" in the knots (outlined in red) to determine the underlying cell
patterns. In this case, I started in the middle where the pattern was least broken (look
for simple interlace patterns) and worked my way out. After the cell pattern starts to
emerge, it becomes easier to compete it across the more complex areas. For borders
concentrate on cell width; with panels the panel dimensions (width X height).

5. Determine how the pattern is interrupted by observing the breaks in the overall
interlace design. These are added in red on the illustration.

6. I've removed the original bands to more clearly see the underlying cell and wall
pattern. This pattern uses 4X6 cells in the repeating group.

7. I've now placed the wall pattern on a regular grid, set up for a narrow band pattern.

Analysis of Existing Patterns

8. Reviewing the wall pattern, I observe that this is a doubled version of a 2X3 cell
pattern, as shown in the figure. For information on drawing doubled knotwork, please
see the

Line Treatments (Doubling)

section of this tutorial.

9. So, I now re−draw the cells and wall patterns using the doubled grid. See the

Sample

Grids

page for a sample of this grid.

10. I interlace the design, just as the other knotwork examples in this class.

11. This illustration shows the pattern colored with band and background shades taken
from the scanned original.

12. The template is extended to approximate the original panel design.

13. Finally, the generated panel is re−sized to match the original, and compared.

14. Not bad, but probably should have stuck with the original non−doubled style grid. :−) In addition, the
Celtic scribes appeared to have used a variable width grid pattern and/or a pattern variance (the third repeat
from the left des not have the same grid pattern as the other three). These are not unusual occurrences in the
original materials. Below is a slightly modified version of the generated design that includes the pattern
variance. Closer yet...

Celtic Knotwork Tutorial

Analysis of Existing Patterns

Limitations of Cell−based Interlacing

I'm sorry to report that some existing works will "resist" this type of analysis. Panels and pages based on
triangular grids, grids warped or adjusted to fit a particular space, or freehand knots will be difficult (and
frustrating−−trust me on this!) to analyze. For triangular knot construction, please see the

Triangular

Knotwork

class page.

Some spiral− or circular−based knots are hard to reproduce using the rectilinear patterns found in cells. Some
panels are based on circles rather than interlaces (especially some of the existing carved stones). Certain
patterns need the cells turned 45° from the usual configuration.

In these cases, try to find the page/panel/border already analyzed−− see [Meehan2], [BainI], [BainG] from the
class

Bibliography

, and don't give up. Use the draw and erase techniques rather than cells, but keep on trying

until the pattern does what you want it to do.

And, Good Luck.

Non−Square Grids

Many panels and borders are based on grids where the sides form a ratio of 3/4 rather than the square (1/1) grids
used for the bulk of this class. George Bain (in [BainG]) calls this the "Pictish proportion". The example
below illustrates a template with 3/4 proportion:

The usual square grid, with the Durrow template and a sample band treatment.

The 3/4 ratio grid (turned to make a 4/3 grid in this example) with the same
Durrow pattern set up.

The template above with interlacing added. The bands are interlaced just as
in the square grids, but you need to watch the band angles so they meet up
with the grid guides.

Celtic Knotwork Tutorial

Limitations of Cell−based Interlacing

The band filled in and colored. Using 3/4 ratio grids can help if you need to
squeeze in a certain number of grid squares into a space that is not quite big
enough. The original Celtic scribes used this technique in several instances;
they even used odd (neither 1/1 or 3/4) grid sizes to adjust border spacing.

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Celtic Knotwork Tutorial

Limitations of Cell−based Interlacing

Building Your Own Patterns

Aim for "interesting" work; make it pleasing to your eye. Study existing Celtic knotwork (see the references
from the class

Bibliography

) and attempt to reflect similar themes and overall designs (e.g., try for a single band

running through the entire panel/border...) Watch out for "loops", and try to get "knots" instead.

Example of a pattern with a "loop". The left shows the underlying grid (3X4 in this
case) and the right shows the bands. The "loop" generated is shown in red.

Similar pattern modified to make a "knot". The left shows the added "wall"
(highlighted). The right side shows the drawn and colored band, with the loop
removed.

One way to begin (and the method I use the most) is to sketch the underlying cell patterns and interruptions using
graph paper. I then use the "bubble" technique (see

Basic Interlacing Construction

) to regularize the band

width, then draw out the interlace by eye. This allows a quick review of the pattern, and allows me to remove
obvious loops and clumsy areas of the pattern before formally drawing it out.

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Building Your Own Patterns

Triangular Knotwork

Introduction

Many Celtic−style patterns are based on grids based on triangles rather than squares or rectangles. These seem
to be (for some reason) especially popular on the many carved standing stones in the British Isles−−especially on
those in eastern Scotland. The most common grid seems to be one based on a right triangle, though some are
based on equilateral triangles, and−− inevitably−−some are based on irregular triangles. It is the right triangular
grid we will use for the class examples.

The following example is for a simple triangular knot taken from [BainG] page 47 and [BainI] page 86. The
original source for the pattern is probably the Ulbster Stone.

This is the grid used for the knot. (Please see the

Basic Interlacing

Construction

page for information on the grid patterns used...) [BainI] would refer

to this as a 4n grid−−it uses four divisions across the long side of the triangle. You
should experiment with different amounts of cells across the long side. The
original artists used just enough cells to fit their pattern−−a very tight grid. Four is
about as small as one can go...

To build this simple pattern, first sketch in the corners of the triangle. Size the
bands as you would for the usual knotwork pattern−−watch the width of the band
that moves across the top of the triangle as it can be tricky to size properly.

This view shows how the corners are connected for this pattern. Unlike the
knotwork patterns (see the

Basic Interlacing Construction

page for details), I've

always had to draw the band edges first and then erase the overlaps while
interlacing.

After interlacing the bands show the common over−under pattern of all knotwork.

Finally, the bands are colored and the background darkened. As with any
knotwork pattern, the bands can be treated in a number of ways. See the

Line

Treatments

class page for details.

As with other knotwork styles, the line widths can be varied by using the narrow or wide grid types. Please see
the

Line Treatments

class page for further information.

Triangular Knotwork

Triangular Knotwork Panels

A simple square panel can be formed by slightly modifying the grid pattern used above and repeating it to form a
square. An example follows:

This view shows the pattern sketched in. The "inside" corner pattern was changed
to make the bands "flow" over and under rather than turn the corner as in Step 2
above.

Connect the corners and interlace, as in Step 4 above.

This shows the pattern repeated to form a square. On the computer I simply
copied, turned the copy 90 degrees, and pasted it back four times. By hand, one
duplicates the grid and interlaces each of the four separately. Remember that the
middle interlace drives the rest of the pattern, so do it first.

Finally, color in the band and background, or use another band treatment of your
choice.

Advanced Triangular Panels

I've found that most of these types of patterns look better when originally built on a wide grid. Please see the

Sample Grids

page for information. The following, more complex example (taken from a pattern on the

Dunfallandy Stone (taken from [BainG] page 41, Plate F.2) illustrates this technique:

The grid for this pattern is 8 cells wide across the top.

The Dunfallandy pattern is more complex, so I've used "walls" to
represent the places where bands split and curve. This is similar to the
techniques used in the

Interrupted Interlacing

class page. I've also

sketched in the corner bands. In this pattern note that bands go
"through" the sides of the triangle.

Celtic Knotwork Tutorial

Triangular Knotwork Panels

As with the simple patterns, I've added the bands and interlaced. With
this more complex design, you can see how the interlacing is related to
standard, square knotwork−−over−then−under, the bands "turning" at
walls and corners. With wide bands like this , you need to really watch
the width of the bands so they remain constant. Things do get tight!

As before, I copied and repeated the pattern in Step 3 with 90 degree
turns to form the square found on the original stone. Use the same
techniques as in the simple panel above.

This shows the bands and background colored in.

Triangular Knotwork Borders

One can combine triangular panel sections into borders using the following technique (illustrated with a pattern
from the Britford Stone):

This shows one fourth of the total Britford pattern. This
could be repeated and turned to form a square as with the
Dunfallandy pattern used in the previous section.

In this view I've flipped the pattern over and connected it to
the original. It was fairly easy to do this, since the band
connections lined up. If they don't line up naturally, the
pattern will have to be modified or shifted to make them
connect.

For this border I had to put in a little place−holder knot to

Celtic Knotwork Tutorial

Triangular Knotwork Borders

make it come out square on the end. Should have worked
harder on this, since it makes a "loop" in the pattern :−(
On some of the other triangular knotwork borders I put in
a small zoomorphic "lizard" head and tail to complete the
pattern. Please see my Cletic "Art" pages for more
examples.

I added a free−form knot on the other end as well...

Starting with the pattern from step 3, I can add step 2 sections 'till the pattern gets as long as I need,
then complete he border with a step 4 section. The result is shown below:

Finally, I colored in the bands and backgrounds. As usual, you can use any band treatment desired.
The result using simple colored bands is shown below:

Since the triangular patterns naturally turn 90 degrees, it is
fairly easy to have a triangular knotwork border turn
corners. A pattern for the corner is shown here. It can be
combined (flipped and rotated as well) with patterns from
steps 2−4 above to form a border of about any shape
desired.

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Celtic Knotwork Tutorial

Triangular Knotwork Borders

Further Topics (not covered in this instruction)

There are a number of other topics in Celtic art that this class does not pretend to cover. These include:

•

Interlacing on curves and circles−−Cell panel or plait patterns can be "bent" into a curve and interlaced
along the curved cell walls.

•

"Animal" shapes ([BainG] calls these "Zoomorphics", which I like!)−−Many Celtic works (particularly
Lindisfarne and Kells use animal−like (birds, dogs, lizard−like things, even humans) drawings and
interlacing legs, ears, necks, topknots, and whatever! Please see [BainG], [van Stone], [Sherb2],
[Sherb3], and [Meehan3] for examples and instructions.

•

Keywork−−Think of "Greek Key" shapes, done with the usual Celtic flair. See [BainG] and [Meehan1]
for examples. I've also done a few of these on my

Celtic Computer "Art"

page.

•

Spirals−−Many Celtic shapes are based on interlaced spirals, and just plain spirals too. See [BainG], and
[Nord] for good examples.

•

Figures−−Many of the Gospels had human figures, sometimes mounted, done in a rather realistic style...
See [BainG] and [Nord] for examples ([Nord] has good color plates as well...) I'm no artist, so you're
on your own!

•

Page layout−−Besides the quick introduction in the

Space Filling

section of the class, [Nord] and

[Meehan1] have a number of possible layout for Celtic pages from various sources: these might be
applicable to SCA use. A (not terribly good :−) example of a draft SCA−style scroll study using a
simple page layout technique can be seen in the

aoa9p1.jpg

(81KB) file.

Further Topics (not covered in this instruction)

•

Lettering, Including Illuminated Letters−−Many initial letters on the manuscripts were highly
illuminated, often using combinations of the knotwork techniques shown here, keywork, animal patterns,
and many more. See [BainG], and [Meehan4] for excellent examples.

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Celtic Knotwork Tutorial

Further Topics (not covered in this instruction)

Class Bibliography

Basic Sources

•

[BainG] Celtic Art: the methods of construction, George Bain, 1973 (reprint of 1951 work).

•

[BainI] Celtic Knotwork, Ian Bain, 1986.

•

[Nord] Celtic and Anglo−Saxon Painting, C. Nordenfalk, 1977.

•

[Sherb] "Interlacing Without Erasing", M. Sherbing, from Tournaments Illuminated No. 53, Winter 1979.

•

[Meehan1] Celtic Design, A Beginner's Manual, Aidan Meehan, 1991. Also see the home page for his
Celtic Design book series at:

http://ourworld.compuserve.com/homepages/Celtic_Design/

•

[Meehan2] Celtic Design, Knotwork, Aidan Meehan, 1991.

•

[van Stone] Wall hanging poster of Celtic Design notes, now out of print, I'm afraid.

Further Topics Bibliography

•

[Baker] Celtic Hand: stroke by stroke , A. Baker, 1983.

•

[Meehan3] Celtic Design, Animal Patterns, Aidan Meehan, 1991.

•

[Meehan4] Celtic Design, Illuminated Letters, Aidan Meehan, 1991.

•

[Sherb2] "Aviforms from Kells", M. Sherbing, from Tournaments Illuminated No. 83, Summer 1986.

•

[Sherb3] "Drawing the Lindisfarne Dogs", M. Sherbing, from Tournaments Illuminated No. 88, Fall
1987.

Web Page Resources

For other web resources, please see the

links (http://www.erols.com/mihaloew/celtic/cel_link.htm)

page.

Thanks for visiting, and enjoy yourself.

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Class Bibliography

Sample Grids

Below are a few grid examples, using various grid spacing and diamond sizes, plus one in the 3/4 ratio used in
some knotwork. Feel free to download, and use them for computer−based knots, or print and use behind plain
paper to allow for "invisible" grids (like calligraphy spacing guides). You'll probably need to double the grid
size when printing to use them by hand, unless you have excellent eyesight and really good pen control :−)
Light tables make these guides really nice.

Regular Grid

Grid I've used for most of the samples in his class, using a medium band width (no, this is not a networking pun!).

Sample Grids